My dearest Emily Noelle Lambert recently had a solo show at Priska Juschka in Chelsea. You may remember my studio visit in April and the super awesome show at my house with a series of her new drawings. Here she fills the gallery with large paintings and totemic mixed media sculptures that are louder and more disturbing than ever, in a good way of course. Inspired by a visit to Rome and an isolated trip in the woods, Emily paints grids of busts, skulls, arm/legless creatures with eyeballs and mouths stuffed with wood and paint debris. Her paintings are quieter in color, the gray and yellow overtones in Busts (Moment to Moment) cast a ghostly and eery sheen to the lively and grotesque shelved busts, each grimacing, sulking, contemplating in a stage of sorrow.
Bed (Little Deaths) suggest exactly as the press release states: post-orgasmic bliss and the stillness of death. Little Deaths translates in Italian to orgasmic pleasures and here its tendency is combined with a subconscious fear of death or the near sublime experienced in both.
Abundance is a blow of clouds, or a cosmic breath let out by the gods, or the overwhelming stream of thoughts and feelings, overcrowded and multilateral, contained to a single canvas, or within a single individual, in this case, that of the artist. Having followed Emily’s work throughout the last few months I’ve learned that her practice is intuitive, personal, and culls from the deepest depths of an inner soul, whether her own or of the viewer. There’s passion and urgency that calls out from each work, an energy that hits with immediacy and sharpness, derived from the swift and bold strokes, the almost compulsive shredding and accumulating of paint and materials, and it drives you with quickness and makes you want to scream.
Her sculptures are messy, skinny, random, an accumulated mass of junk and detritus that materialize into figures that have been mutilated, violated, stuffed, frankensteined. Despite its initial disturbance I feel a sense of willing and peaceful defeat, a calmness residing within the voracious energy, the restless passions, the unending flow of relentless mindfucking. I’m actually getting turned on right now writing about Emily’s works, they’re provocative and addictive in their state of discombobulation. I find it rejuvenating, cleansing, and sexy.